This one-man noise project opts to not lean on the more "rock" elements of some of his contemporaries such as Wolf Eyes and instead goes for an early industrial and vaguely krautrock vibe that sets this disc apart from others in the genre.
Two new shows just for you. We have squeezed out two extended release episodes for this weekend to get you through this week. They contain mostly new songs but there's also new issues from the vaults. The first show features music from Rider/Horse, Mint Field, Robert Aiki Aubrey Lowe, Anastasia Coope, ISAN, Stone Music, La Securite, Bark Psychosis, Jon Rose, Master Wilburn Burchette, Umberto, Wand, Tim Koh, Sun An, and Memory Drawings. The second episode has music by Laibach, Melt-Banana, Chuck Johnson, X, K. Yoshimatsu, Dorothy Carter, Pavel Milyakov, Violence Gratuite, Mark Templeton, Dummy, Endon, body / negative, Midwife, Alberto Boccardi, Divine. Cow in Maui from Veronika in Vienna. Get involved: subscribe, review, rate, share with your friends, send images!
|
It is a long time since I have heard Vic Chesnutt, first becoming aware of him like I would expect many people my age did by way of a tribute album in the mid-90s bought on the strength of the artists covering him. That this is his 11th album is a big surprise and listening to it I lament not giving him the attention he obviously deserves previously. This album is filled with tender, witty, funny and heart wrenching moments of lyrical clarity.
Another installment in the label's "Arc" series, the debut release from this NY based artist is a study in bedroom recording, a simple and lo-fi, yet captivating work of experimentation.
Writing brief and delicate music at a time when epic bombast was the norm, Satie's compositions would go on to become some of the most influential of the 20th century. This disc presents some of his best-known work as well as a few pieces that are less frequently heard but no less enthralling.
Portland-based artist Daniel Menche deconstructs the organ and trumpet on this latest album, yet little of the resulting work reflects these instruments in obvious ways. Instead, these four tracks sound like mechanical insects mating with pink noise and then giving birth to an apocalyptic swarm.
Zero have made an odd, joyful and coherent debut, despite lurching from post-rock tension to whimsical melody, covering Devo, and borrowing vocal styles from at least two eccentric Englishmen.
